Nothing But Pleasure

Sailors in repose on an island paradise seemingly have no worries of war or danger — until a playful gesture is interpreted as an act of wilful aggression. Soon, the innocent act of slight slapping becomes a relentless and unforgiving orgy of open-palmed face-smacking.

An old spinster receives an unexpected Valentine's letter.

Produced and directed by George Albert Smith, the film shows a couple sharing a brief kiss as their train passes through a tunnel. The Kiss in the Tunnel is said to mark the beginnings of narrative editing. It is in fact, two films in one, hence the 2 min length. Firstly, the G.A. Smith film here for the central cheeky scene in the carriage. The train view footage however is Cecil Hepworth's work, entitled 'View From An Engine Front - Shilla Mill Tunnel', edited into two halves in order to provide a visual narrative of the train entering the tunnel before the kiss and then leaving afterwards. More information about the filming of the phantom train ride can be found searching for the Hepworth film separately.

A street level view from the sidewalk, looking along the length of 23rd Street. Following actuality footage of pedestrians and street traffic, the actors, a man in summer attire and a woman in an ankle-length dress, walk toward the camera.

A wolf with a Southern accent walks by just as a teacher is getting fed up with his class and walks out. Unfortunately, the class consists of three junior clones of Droopy, who manage to try his patience.

A man and his wife try to enjoy a picnic, but strange and surreal happenings prevent them from doing so.

'Zandvoort in an uproar! On Saturday morning at roughly 10 o’clock, with beautiful weather and calm seas, a Frenchman sat in a beach chair to gaze upon the magnificent view that the sea always affords, until he slowly began to fall asleep’ So begins a report in the ‘Zandvoortsche Courant’ of July 25, 1905. The article explains how the man was faced with the oncoming tide, and – to the amazement of the audience – took off his trousers to prevent them from being ruined by the saltwater. While trying to escape from the policeman who had rushed to the scene, he jumps into a passing car, and hides out in a small changing cabin. Eventually he's nabbed by the police. Accompanied by a band and a large crowd, he is escorted to the police station. The article ends by saying that ‘Messrs. Alberts Frères’ had staged the whole incident for a film in which two of the most popular genres of that period - the locally-shot film and the chase film – would be combined.

A high board fence is shown covered with theatrical posters. The one in the center shows the head and shoulders of a pretty girl. An old farmer and his wife are strolling along, the old gentleman being a little ahead. He looks at the picture of the girl and fancies he sees the eyes winking at him. He puts on his glasses to make sure that he is not dreaming, when the girl leans forward with an expression as if inviting him to have a kiss. (Biograph Catalog)

A vaudeville routine: two denizens of the Bowery dance while under the influence. She's wearing a light dress with a full skirt. He wears a white sport coat and tie. Both have hats. On a small stage, she approaches him gingerly, leaning forward. He grabs her close, she leans into him, and he waltzes her around.

Wintertime in Lyon. About a dozen people, men and women, are having a snowball fight in the middle of a tree-lined street. The cyclist coming along the road becomes the target of opportunity. He falls off his bicycle. He's not hurt, but he rides back the way he came, as the fight continues.

Félicien Trewey uses a basic prop to create comical hats and their accompanying caricatures.

When Bugs calls a cab he doesn't know it's the getaway car for a couple of bankrobbers (he does know the capital of Nevada).

Set in the candy-colored world of 1950s suburbia, a reluctant young housewife suspects that the friendly neighborhood dentist is hiding a horrible secret, but is it just the anesthesia at work or is there something more sinister hiding below the surface? Open up and say AHHHHHHHH!

A six-year-old boy in pre-hippie 1960s United States endures ridicule from his schoolmates and worry from his father over his fixation with a TV star named Dottie.

Our presidential hunter runs across the landscape and falls down in the snow, gets up with his rifle, and gazes upward at a treed animal which isn't in the camera's view. He fires a shot into the tree, then leaps on the ground to grab the fallen prey, a domestic cat, finishing it off with wild blows of his hunting knife while his companions, a photographer and a press agent, record the event that will be reported far and wide as a manly moment. Teddy then rides out of the forest followed by two companions afoot, never mind that they all originally arrived afoot. Perhaps it was funnier in its day than it is now, but apparently shooting cats was regarded as funny in those days. The larger point was to use a minor whimsy as a political criticism, in this case of Teddy Roosevelt's easy manipulations of the press. It was based on two frames of a political cartoon that had appeared in the paper a mere week before the film was made.

A combination of the story of Goldlocks and the Three Bears with the true story of how Teddy Roosevelt spared a bear cub after killing its mother while hunting, an event which led to the popularization of the teddy bear. Goldilocks goes to sleep in the bears' home after watching six teddy bears dance and do acrobatics, viewing them through a knothole in the wall. When she is awoken by the returning bear family, they give chase through the woods, but she runs to the aid of the Old Rough Rider, who saves her.

Betty, while reading a book of Mother Goose stories, wishes she could visit such a wonderful place. Betty's wish is granted when Mother Goose appears, and gives her a tour of Mother Goose Land. Betty has a wonderful time until Little Miss Muffet's spider chases her, with lecherous ends in mind. All of the characters come to Betty's rescue. Betty wakes up in bed with all the fairy tale characters surrounding her.

Koko is recruiting customers for a 50 cent sightseeing tour of the museum. Betty is Koko's only passenger. Betty gets locked inside by accident. The skeletons from the displays come to life and chase Betty, until she is finally rescued by Bimbo.

A spoof of Bizet's Carmen, showcasing child star Baby Peggy.

This early animated short depicts a Stone Age-era circus.